Tesi sul tema "Contemporary Polish culture"

Cette thèse a pour objet l’étude de l’origine et de la création des fonds régionaux d’art contemporain (FRAC) entre 1981 et 1986. Le plan se divise en trois grandes parties. La première partie analyse les modes d’acquisitions et d’expositions qui, au cours du XX° siècle en France, ont été des modèles pour la constitution des FRAC. La seconde partie étudie l’engagement du ministère de la culture dans une politique ambitieuse qui aboutit à la création des FRAC après l’arrivée de la gauche au pouvoir en 1981. La troisième partie, à proprement parlée d’histoire de l’art, porte sur les collections des FRAC. Cette étude des collections a constitué l’essence de la recherche établie à partir de données informatiques de videomuseum qui a opéré un recensement de toutes les acquisitions. La thèse s’appuie également sur des documents d’archives, des travaux existants, une étude sur le terrain dans chaque collection de FRAC, d’entretiens et d’un dépouillement de la presse artistique. Issus des revendications politiques formulées dans le programme de la gauche1 pour les élections présidentielles de mai 1981, les FRAC, financés à parité par l’Etat et par les régions, constituent un exemple fort de la réussite d’une politique culturelle décentralisée. Entre 1983 (date des premières acquisitions) et mars 1986 (date de la défaite de la gauche aux élections législatives) les vingt et un FRAC en activité ont acquis un total de 5 438 oeuvres provenant de 1 377 artistes. Fonds d’exception dans le paysage culturel français, les FRAC sont l’aboutissement d’une volonté de démocratisation revendiquée depuis les années 60. Jusqu’en 1986, la croissance constante des crédits d’acquisition - autant du côté de l’Etat que des conseils régionaux - aurait pu conduire à l’établissement d’une esthétique officielle. Nous verrons qu’il y a eu tout au plus des « zones d’influence » qui sont apparues pour compenser de réelles absences dans les collections des musées en région. Toutefois, malgré cet incontestable investissement institutionnel, la puissance publique ne pouvait prétendre à devenir un acteur majeur dans l’histoire de l’art
This thesis studies in depth, the origin and the creation of theRegional Contemporary Art Collection (FRAC) between 1981 and 1986. The plan is divided into three main parts. The first part analyses the patterns of acquisitions and eexhibitions, which were models for the formation of the FRAC during the twentieth century in France. The second part examines the commitment of the Ministry of Culture in an ambitious policy that led to the creation of the FRAC after the arrival of the labour party who came to power in 1981. The third part, strictly concerning the history of art, focuses on the collections of the FRAC. This study of the collections has been the core of the research, established from computer data created by Videomuseum, who made a census of all acquisitions. The thesis is also based on archival documents, existing works, an onsite study of each collection of the FRAC, interviews and a literature of artistic media. Included in the labour party’s political program for the presidential elections of May 1981, the FRAC, funded equally by the State and the Regions, is a strong example of the success of a decentralized cultural policy. Between 1983 and March 1986 twenty-one FRAC in activity acquired a total of 5,438 works of art from 1,377 artists.Since the 1960s, the FRAC is an exception in French cultural funding and the result of a desire for democratisation. Until 1986, the continued growth of acquisition loans - offered by the State and regional councils - could lead to the establishment of a formal aesthetic. “Zones of influence" emerged to compensate for absences in the museum collections in the region. However, despite this undeniable institutional investment, public power was not entitled to become a major player in the history of art

Interrogeant les rapports entre l'État et le champ artistique en France entre 1848 et 1920, ce travail de recherche en histoire de l'architecture repose sur le postulat que la trajectoire architecturale du Musée du Luxembourg fut l'un des lieux privilégiés de la construction d'une représentation négative de l'intervention de l'État dans les affaires artistiques. Ce musée, dont les collections sont aujourd'hui atomisées dans différentes institutions parisiennes et provinciales, devint, en 1818, le premier musée d'art contemporain, par la volonté du roi Louis XVIII. Dès l'origine, il fut considéré comme la pépinière du Louvre. Cette relation de symbiose entre les deux institutions, basée sur le principe des vases communicants, servit de référence à l'émergence de nouveaux paradigmes muséaux en Europe et en Amérique du Nord, jusqu'au premier tiers du XXe siècle. La principale mission du Musée du Luxembourg était d'affirmer la supériorité de l'art français face à celui des autres puissances européennes. Si sa représentativité artistique fut pour le moins partielle, son exemplarité architecturale, elle, demeura un idéal jamais atteint. L'analyse de fonds d'archives, de revues de presse et de documents parlementaires, permet de vérifier l'hypothèse de la construction progressive d'un antagonisme, grâce à la mobilisation de différentes catégories d'acteurs appartenant ou non au champ artistique. Cette mobilisation s'effectue collectivement par le biais des journaux, au sein des sociétés artistiques, des sociétés de mécènes, de groupements de citoyens et de fédérations de commerçants, sous la forme de discours, de pétitions, d'enquêtes ou de campagnes de presse, ou bien individuellement, à l'initiative des artistes représentés au musée ou de journalistes influents. Toutefois, la remise en question la plus décisive du rôle de l'État provient des utilisateurs du musée eux-mêmes, souvent impuissants face à la pesanteur des rouages bureaucratiques, à la maigreur des budgets alloués aux musées nationaux, et à l'inadaptation des locaux avec lesquels ils doivent composer. La construction de cette représentation négative se structure autour de moments clés récurrents : vernissage d'un nouvel accrochage des collections, intégration des œuvres d'un legs ou d'une donation, dépôt et discussion d'un rapport sur le budget des Beaux-arts, Expositions universelles, incidents touchant les collections, rumeurs colportées par la presse. Néanmoins, les moments les plus critiques coïncident avec la remise en question de l'existence même du musée, avec la menace de son expulsion, ou avec l'officialisation et la mise en œuvre de projets de relogement, qu'il s'agisse du transfert du musée dans des bâtiments existants, d'extension de ses locaux, ou de leur reconstruction intégrale. Chacun de ces événements contribue à la cristallisation de thèmes et d'enjeux, qui vont polariser l'essentiel des critiques formulées à l'égard de l'action artistique publique. On peut ainsi dégager quatre thèmes récurrents dans les débats : l'absence d'exemplarité architecturale du musée, incompatible avec le rayonnement artistique de la France et de sa capitale ; l'impossibilité de mobiliser les fonds nécessaires à une résolution définitive de la question de l'exemplarité architecturale ; l'impossible consensus sur la question de localisation du musée dans l'hypothèse de son relogement ; le paradoxe entre la construction d'une expertise des conservateurs en matière de programmation architecturale et l'incapacité de l'État à leur donner les moyens de l'appliquer. En aucun cas, cependant, cette critique de l'action (ou de l'inaction) de l'État ne débouche, avant 1920, sur des projets de création de musées concurrents et indépendants ; la mobilisation du champ artistique est tournée vers une forme d'assistance à l'État, dans la résolution de la crise qui touche le Musée du Luxembourg
This dissertation in architectural history argues that the architectural trajectory of the Luxembourg Museum in Paris was one of the main reasons why the French public art policy was considered as unwarranted and illegitimate. The Luxembourg Museum, whose collections are now scattered in various Parisian and provincial institutions, became in 1818 the world's first museum of contemporary art, by the will of King Louis XVIII. From the beginning, its aim was to feed the Louvre with recent and national art. The symbiotic relationship between these two museums, which was based on the principle of communicating vessels, was a paradigm for new museums in Europe and North America, until the first third of the twentieth century. Although the main mission of the Luxembourg Museum was to assert the superiority of French art face to that of other European nations, it was long criticized not only because it did not reflect the diversity of artistic trends, but also because the conditions under which its collections were stored and exhibited were unworthy of Paris' attractiveness and influence. Through the analysis of primary sources, press reviews and parliamentary papers, we wanted to test the hypothesis that the mobilization of different categories of stakeholders within and outside the artistic field led to an increasing distrust of public art policy. Leading artists represented in the museum, influential journalists from daily and art newspapers, art and patrons societies, citizens and merchant associations, promoted mobilization against through speeches, petitions, surveys or media campaigns. Even the museum professionals themselves were powerless against complicated bureaucratic procedures, shoestring budgets for national museums, and unsuitable storage and exhibition spaces, and ended up questioning the role of the French state in art policy. The negative image of the role of the French state was shaped at key moments and recurring events: the re-hanging of the collection, the display of a new gift or bequest, discussions about the annual budget of the ministry of Fine-Arts, World Fairs, preventive conservation matters, and rumors. However, the most critical moments coincided with the questioning of the very existence of the museum, with the threat of its uprooting, or the formalization and implementation of resettlement, extension or reconstruction schemes. Each of these events crystallized themes and issues that polarized most of the criticisms aired at the public art policy. We identified four major topics in this debate: the shameful absence of a purpose-built museum of contemporary art in Paris; the Governement's inability to raise funds to finally resolve the architectural issue; the lack of consensus on the future museum's location issue; the contradiction between the recognition of the curators' skills in architectural design and the inability of their administration to give them the opportunity to apply them. The main paradox is that although the public art policy was more and more considered as inaccurate and illegitimate, most of the artistic field helped the Government to resolve the ‘Luxembourg issue' and build a monument worthy of the nation

The advent of overtly instrumental cultural policy making since the 1990s in Europe shows variations in both its articulation and implementation. Whilst discourses of globalisation and neo-liberalism are frequently cited to justify policy instrumentalism, a consistent explanation of how policy making in different countries is linked to localised outcomes is not apparent. This thesis aims to close this explanatory gap by investigating the institutional arrangements of policy making and implementation in two European countries with distinct traditions of cultural administration, i.e. the UK and Germany, using the contemporary dance sector in each country as a site of investigation. This thesis adopts a comparative-historical approach to examine firstly, the cultural policy and contemporary dance sectors of the UK and Germany, using key policy texts and initiatives to uncover the primary logics inherent in the texts. Secondly, we identify how these extrinsic logics are privileged at the expense of alternative, intrinsic logics using rhetorical strategies imported from other policy areas. Thirdly, we apply a moderated form of critical discourse analysis to examine how these strategies and logics are appropriated by actors and organizations in the dance fields of both countries using Bourdieuian concepts of capital to effect changes of identity and legitimacy as a means to gain access to scarce resources. Finally, we assess the impact of instrumental policies on organizational practices and identity using case examples from both Germany and the UK. The emphasis on discourses generated by both policy makers and dance practitioners and organizations reflects the social constructivist perspective inherent in the analysis of the thesis. Furthermore the underlying assumption that much of what is under investigation is dependent on the context in which it is situated, signifies that more than one interpretation of the observations is possible. We use embedded case study examples that are representative of the contemporary dance sector in the UK and Germany and intended as illumination rather than as a deductive source of material for theory building. Thus, we adhere to the particularist view of convergent and divergent discourses and practices, whereby both institutional arrangements and culture are key determinants in the explanation of variations in cultural policy and its outcomes between countries. We argue that variations in socio-political and historical trajectories, institutional structures and processes mediate the forms of compliance and resistance observed amongst dance practitioners in each country. This thesis contributes to the literature on institutional logics by examining the nature of power relationships between dance practitioners and cultural and political organizations in constructing identity and legitimacy for artistic practice.

Ce projet de recherche se concentre sur les conditions generales de politique culturelle sous lesquelles se créent les nouvelles formes artistiques du theatre musical contemporain en Allemagne et en France.Le travail de recherche sur le présent thème est dédié aux tentatives d'innover et n'a pas pour objet de mettre la crise en évidence. L'intérêt de ce domaine de recherche réside dans la recherche de solutions en discutants des reformes et innovations tout en s'appuyant sur des études de cas tirées de la pratique actuelle du theatre musical en Allemagne et en France. Les pressants travaux reposent sur une étude des sept cas exemplaires. Les exemples choisis couvrent aussi bien le domaine des théâtres traditionnels en tant qu'institution que celui de la structure des collectifs. Il conviendra de montrer s'il existe un lien entre les libertés laissées par la politique culturelle et les innovations esthétiques, si l'on peut discerner des recoupements franco-allemands et si un intérêt pan-européen en matière de politique culturelle peut résider dans une reforme
This research project is concentrated to focus the general conditions of cultural policy which are responsible for the creation of new artistic forms of contemporary music theatre in Germany and France. For this the research is focussed on innovations and not on the analysis of the crisis. The aim is to find solution and discus different reforms in the artistic practices. The field work include the analysis of 7 case studies, traditional institutions and structures of the free landscape of contemporary music theatre in Germany and France. It will be shown in the analysis that there is a link between cultural policy and innovation of arts

En France, après une longue période d'accumulation silencieuse dans les institutions publiques patrimoniales, la photographie fait l'objet de politiques d'enrichissement spécifiques, dans la seconde moitié du XXe siècle, qui influent sur l'évolution de son statut. Dès la fin des années 1930, les responsables du cabinet des Estampes de la Bibliothèque nationale engagent un processus de réévaluation où le médium photographique est enfin considéré comme objet de collection. S'engage alors un programme d'enrichissement audacieux selon une voie duale, documentaire et artistique, où la Bibliothèque nationale ambitionne de devenir un musée de la photographie, le premier en France. En plus de la photographie documentaire qui reste une priorité, l'intérêt des conservateurs se porte d'une part, sur les grands ensembles de photographies du XIXe siècle en vue d'initier une histoire de la photographie sur le modèle de l'histoire de l'art; et d'autre part, sur les auteurs contemporains. La démarche est pionnière et durable, mais elle n'est pas suffisante pour faire reconnaître la photographie comme un art à l'échelle nationale. Près de quarante ans plus tard, en 1976, le secrétariat aux Affaires culturelles s'empare enfin des questions photographiques, mais les quatre directions ministérielles concernées par la photographie réagissent de manière inégale. Dans un environnement photographique qui évolue vers une orientation culturelle, des collections nationales sont créées à la Fondation nationale de la Photographie à Lyon (FNP), au musée national d'Art moderne (MNAM), au Fonds national d'Art contemporain (FNAC) et au musée d'Orsay; et la photographie est enfin reconnue comme un art. Dans les années 1980, sous l'effet conjugué du «Mois de la Photo» de la Ville de Paris et de la politique en faveur de l'art contemporain développée par le ministère de Jack Lang, un des événements artistiques majeurs de la fin du XXe siècle prend forme : la photographie entre dans le champ des arts plastiques
Photography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This work presents three different movements characterized by disjunctive series interweaved around the genealogy of forces in struggle, composing the invention of a dance. It is especially inspired in the writings of Friedrich Nietzsche, Michel Foucault, Gilles Deleuze and Félix Guattari. Traces of what is considered as contemporary dance‟ are situated through the discussions around dance‟s execution by history and becomings that are installed on it. Therefore, the emergence of the Programa Municipal de Fomento à Dança (Municipal Dance Foster Programme) for the city of São Paulo is investigated, from ways of conducts taken out by performance artists during the passage of the 20th to the 21st century. The Vocational Programme (Programa Vocacional) is analised as one of the most important complementary political program related to the activity of artists from different fields. In this way, the research concentrates on the historical analysis of the cultural policies investments in Brazil that reflects in adjustments over the production of the so-called intangible materials‟ and controls related to the recent field of the creative economy . The government of conducts affects the life of artists and dancers in São Paulo, while the sophistication of power technologies develop calculations and create forms of selectivity around the current artistic creations in contemporary dance by means of governmental notices and tenders. Different ideas of culture‟ are presented based especially on nietzschean lectures about cultivation of social and ethical practices. A path of the development of cultures of the self through the experimentation of dances produced in São Paulo between the final decades of the 20th century and the beginning of the 21st raising mixes with a distant archipelago: Japan. That meeting is considered as one of the possible links that calls our attention for the political condition of the contemporary dance in São Paulo
Este trabalho apresenta três movimentos caracterizados por séries disjuntivas que se entrelaçam em torno da genealogia das forças em luta componentes da invenção de uma dança, a partir principalmente das leituras de Friedrich Nietzsche, Michel Foucault, Gilles Deleuze e Félix Guattari. Situa-se vestígios daquilo que veio a ser considerado como dança contemporânea em meio à discussão entre efetuações da dança pela história e devires que nela se instalam. Discute-se, por conseguinte, como se deu a emergência do Programa Municipal de Fomento à Dança para a cidade de São Paulo, a partir de modos de condutas efetuados por artistas da cena, durante a virada do século XXI. Analisa-se, contudo, um dos atuais programas políticos municipais complementares à condição do campo de trabalho que envolve a vida de artistas de diferentes campos: o Programa Vocacional. Nesse sentido, a pesquisa debruçou-se na análise histórica dos investimentos em políticas culturais, no Brasil, que desaguam em adequações sobre a produção dos considerados materiais intangíveis e controles relacionados ao recente campo da economia criativa . O governo das condutas atravessa a vida de artistas e dançarinos, na cidade, em meio também à sofisticação de tecnologias de poder que condicionam cálculos e atestam seletividades sobre as atuais elaborações voltadas às artes e à dança contemporânea, por meio do funcionamento dos editais. Noções de cultura são apresentadas principalmente a partir de leituras nietzschianas enquanto cultivo de práticas sociais e de si. Delineia-se, entre as décadas finais do século XX e a entrada do XXI, um percurso da elaboração de culturas de si pela experimentação de danças experimentadas e produzidas em São Paulo, que suscitam misturas e contágios com um longínquo arquipélago: o Japão. Esse encontro apresenta-se como um dos possíveis fios que chamam a atenção para uma escuta relacionada à condição política presente sobre a dança contemporânea, na cidade de São Paulo

Contemporary art and exhibition-making is increasingly deployed in the urban development and marketing of cities for political-economic benefit, yet the examination of the aesthetic and cultural aspects of urban life is curiously limited. In probing the unique political conditions of Brisbane, Australia, this thesis contrasts two periods — 1985-1988 and 2012-2015 — in order to more fully understand the critical pressures impacting upon the production of contemporary aesthetic projects. While drawing upon Henri Lefebvre's right to the city, and insisting upon a right to imagine the city, this thesis concludes that a consistent re-articulation of critical pressure, which anticipates oppositional positions, is necessary.

This research focuses on agencification and quangocratisation (AQ) through a comparison of the experiences of South Korea and the UK. Although a number of studies of AQ have been produced recently, these reforms remain inadequately understood. Since AQ involves the structural disaggregation of administrative units from existing departments, executive agencies and quangos have distinct characteristics which are quite different from ordinary core departments. There are a number of factors which influence these changes; and this thesis explores nine existing theories which are available to explain these phenomena. Case studies are presented of Tate Modern in the UK and the National Museum of Modern and Contemporary Art (MMCA), which are carefully analysed to examine the validity of those nine arguments. Although cultural agencies, which show some unique features, have become increasingly an essential part of the national economy, they have scarcely been researched from the viewpoint of public policy. This thesis endeavours to explore distinctive characteristics of this policy area; and moreover, it examines the diverse variables which have an impact on policy formation and its results through the process of comparison of arguments. The major tasks of this thesis are to investigate the applicability of the nine arguments and to weigh their merits. As a corollary of this comprehensiveness, it examines the whole public sectors of both countries, in order to show the broader picture and to understand the processes of changes and their backgrounds. More profoundly, similarities and differences between both countries are compared from both macro and micro perspectives. At the same time, the results of AQ are analysed through the comparison of outputs or outcomes before and after these changes, with a view to exploring whether their rationales are appropriate. Furthermore, it also examines the institutional constraints which influence not only the change of agencies but also their performances. Besides which, it seeks to find strategies for overcoming these constraints. This thesis adopts systematic and comprehensive approaches regarding basic concepts and data. It draws on theories of comparative research, the scope of the public sector, the classification and analysis of agencies and quangos, and theories underlying the detailed components of each argument and epistemological assumptions. Therefore, it suggests various aspects which enable us to broaden our understanding of the changes within the public sector; and to generate practical understanding to inform real world reform.

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A partir do contexto de emergência e consolidação da atividade do curador de exposições de arte contemporânea na esfera artística internacional, esta análise direciona-se a duas edições da Bienal de São Paulo (as 18ª e 19ª, promovidas em 1985 e 1987, respectivamente) para compreender as condições e desdobramentos dessa profissão no Brasil. As curadorias da crítica de arte Sheila Leirner são estudadas aqui em sua singularidade e em relação com diversas exposições realizadas em instituições congêneres. Colocamos em perspectiva a historiografia já estabelecida acerca dessas duas propostas curatoriais (“O Homem e a Vida” e “Utopia versus Realidade”), e esquadrinhamos o debate crítico suscitado por elas dentro e fora do país. Seleções de obras artísticas e artistas, expografia, discurso teórico e poder de legitimação são articulados com a trajetória crítica da curadora e as transformações nas políticas públicas para a cultura e no status das instituições culturais na década de 1980, em diálogo com a os processos de globalização da arte e redemocratização política no Brasil.
From the context of emergency and consolidation of the curator’s activity of organizing contemporary art exhibitions in the international artistic sphere, this analysis focuses on two editions of the Sao Paulo Art Biennial (the 18th and 19th ones, promoted in 1985 and 1987, respectively) to understand the conditions and consequences of this profession in Brazil. Here we study the curatorial projects of the art critic Sheila Leirner in its uniqueness and in relation to other events held in similar institutions. Questioning the approach already established by the Brazilian historiography about these two curatorial proposals ("Man and Life" and "Utopia vs. Reality"), this research scrutinizes the critical debate raised by them within and outside the country. We also link selections of art works and artists, expography, theoretical discourse and legitimation power to Leirner’s critic production and the transformations in public policy for culture and cultural institutions status during the 1980s, connecting them to the processes of globalization of art and political redemocratization in Brazil.

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Fundo Mackenzie de Pesquisa
This study aims to identify the possible potential that ephemeral occupation, through cultural events, has on transforming public areas in downtown São Paulo. The focus of the analysis was the historical city center, consisting of the Sé and República districts, and the event, the Virada Cultural (Cutural All-Nighter), as it has been taking place since 2005, primarily in the region and proposes to be a tool for re-appropriation of the space by city residents. Through a conceptual and theoretical discourse that provides an overview of the city and the contemporary public space, from a historical, economic and urban perspective, as well as the inclusion of the 'culture' topic in urban policy, we proceeded to survey press reports about the Virada Cultural, so as to compare them to the official discourse provided by the organizers, through documents and press conferences. The study reveals that democratic and plural cultural events can serve as one of the possible instruments for the government to stimulate the occupation and symbolic requalification of São Paulo s historical center.
Este estudo objetivou identificar a eventual potencialidade da ocupação efêmera, por meio de eventos culturais, para transformar o espaço público da região central da cidade de São Paulo. O foco da análise foi o Centro Histórico do município, constituído pelos distritos da Sé e República, e o evento, a Virada Cultural, por ser realizada, desde 2005, prioritariamente na região e propor-se como ferramenta de reapropriação do espaço pelo cidadão. Ao lado de uma discussão conceitual e teórica para traçar um panorama da cidade e do espaço público contemporâneos, a partir de uma perspectiva histórico-econômica e urbanística, bem como da inserção do tema cultura nas políticas urbanas, procedeu-se ao levantamento de informações divulgadas na imprensa sobre a Virada Cultural, para compará-la ao discurso oficial de seus organizadores, por meio de documentos e entrevista coletiva. O estudo revela que eventos culturais de caráter democrático e plural podem se configurar como um dos instrumentos possíveis para o poder público estimular a ocupação e requalificação simbólica do Centro Histórico de São Paulo.

The Internet is a ubiquitous feature in everyday life, but its application to social movements has yet to be completely understood. This phenomenological study examines the lived experiences of bloggers who focused on the gay, lesbian, bisexual, and transgender (LGBT) movement in the United States to understand the impact bloggers and their work as online activists have on existing LGBT social movement organization and operation. Data collection is gathered from semi-structured and open-ended interviews with four social movement bloggers using web-conference software over the course of three months. The results of this study indicated that internet has empowered individual activists, allowing them to gather a following and share their views to a large audience over the web, independent from existing social movement organizations. Consequently, bloggers and online activists maintain a relationship with existing social movement structure that is both collaborative and antagonistic. The results of this study contribute to the current understanding of social movement organizations as well as the impact of technological innovations on social movement advocacy.

The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history. Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.

碩士
淡江大學
俄羅斯研究所碩士班
101
The MOC works to create an environment in which cultural activities thrive, where cultural heritage is preserved and people – regardless of background or status – have opportunities to express themselves culturally. Russia has a long cultural history and is renowned for its culture and arts. This history has undergone a long evolutionary process, from its origins way back in the 9th century, to 12th century Mongolian rule, and all the way upto today’s post-Soviet contemporary culture. Through a close examination of Russian cultural history, this study looks at change in Russian cultural policy before and after the collapse of the Soviet Union. To do so, it draws on various sources, including the Basic Law of the Russian Federation on Culture, as well as related websites and news articles. This study found that after the collapse of the Soviet Union, the concept of cultural policy changed from closed to open, from homogeneous to diverse. The Russian government began to place great emphasis on Russian cultural heritage, and started to channel considerable funds into this area through the “Culture of Russia” Federal Target Programme. Although it states otherwise, the Russian government today remains a major influence in Russian cultural activities.

There is a consistent thread throughout Russian history of governmental management of culture. Tsars and Communist bureaucrats alike have sought to variously promote, censor, or exploit writers, filmmakers, and musicians to control and define the country's cultural content. Often, these measures were intended not necessarily to cultivate Russia's aesthetic spirit, but to accomplish specific policy goals. The promotion of a State ideology and other efforts to stave of social unrest were chief among them. With the fall of Soviet power and the loss of an official ideology promoted by the state, the concept of cultural politics fell to the wayside. It has remained largely ignored ever since. Despite numerous high-profile incidents of persecution of the creative class, analysts have not linked them together as part of an overarching cultural policy. However, the Russian government under Vladimir Putin has faced consistent policy challenges since the beginning of the 2000s that could be mitigated through the implementation of such a policy. In some ways, the breadth and character of State involvement in the cultural sphere follows the pattern of the country’s autocratic past. In others, it demonstrates that it has adapted these policies to function in the hybrid regime that Putin has created, as opposed to the totalitarian ones that preceded it. A recent case that exemplifies this new breed of cultural policy is the persecution of the radical feminist punk band Pussy Riot. While largely unknown to many Russian citizens, the group’s overt opposition to the patriarchal model of rule established by Putin with the help of the Russian Orthodox Church was met by the most comprehensive crackdown within the cultural sphere since perestroika. Examining this case in detail can reveal the extent to which the Russian government is concerned about its ability to maintain popular legitimacy. The fact that it has continued to try to manage the cultural sphere may indicate the level of democracy that has or has not been established in Russia so far today.
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Com mais de duas centenas de colectividades de cultura, Almada tem nestas instituições um extraordinário movimento de expressão cultural. Por esta razão o Município estruturou um vasto conjunto de equipamentos edificados e outros reconvertidos como a Casa da Cerca – Centro de Arte Contemporânea, que associam à sua relevância histórica e identitária a importância de se constituírem como mais valias enquanto instrumentos de desenvolvimento de actividades culturais e de sentidos comunitários. Conjunto classificado pelo IPPAR como Imóvel de Interesse Público, alberga um dos mais bem sucedidos projectos no domínio da arte contemporânea portuguesa, cujo trabalho se desenvolveu em torno de dois núcleos fundamentais: Museu/Exposições e Centro de Documentação/Informação, motivado pela criação de um acervo municipal no campo das Artes Plásticas que privilegiasse o desenho. A reflexão crítica alargada sobre a Cerca como objecto patrimonial, museológico e comunitário de referência é inexistente e é essa lacuna que justifica a pertinência desta investigação.
With more then two hundred culture community, the city of Almada has in these institutions, an extraordinary movement of cultural expression. For this reason, the district has built a wide group of facilities and redesigned others like “Casa da Cerca – Centro de Arte Contemporânea” (Centre of Contemporary Art) that relate to the historic and identitary relevance as instruments of cultural activities and communitarian sense of development. It is a group classified by IPPAR as Building of Public Interest that is part of one of the most successful projects in the field of Portuguese contemporary art. Its work has developed around two fundamental subjects: Museum/Exhibitions and Information/Documentation Centre with the goal of creating a district booty in the field of Visual Arts, especially drawing. The wide critic reflection about “Casa da Cerca” as being a reference as a real estate, a museum and a community object it is non-existent and it is that flaw that justifies the pertinence of this investigation.

A criação do Edinburgh Festival Fringe data de 1947. O Fringe aconteceu quando um grupo de oito artistas que não faziam parte da programação oficial do então recente Edinbrugh International Festival tentou actuar na inauguração desse festival, sem sucesso. Actuaram na “franja” do festival “oficial” e, desde a década de 1940 do século XX, o Fringe ficou cunhado como o festival que “desafia a norma”. Em 2017 o Fringe celebrou o 70º aniversário, e a ocasião tornou-se conveniente para o início desta investigação qualitativa que teve por base a pergunta de partida: “Que tendências evolutivas entre as diferentes edições do Edinburgh Festival Fringe, entre 2007 e 2017, no contexto do sector cultural da Escócia?”. A Escócia é um país a norte do Reino Unido, que tem como capital a cidade de Edimburgo, com pouco mais de cinco milhões de habitantes. Esta não é a típica concorrente às grandes capitais europeias, no entanto durante o mês de Agosto, o mundo inteiro cabe em Edimburgo. O que esta investigação apresenta é uma análise qualitativa com base em documentação oficial e secundária; investiga a evolução do Edinburgh Festival Fringe ao longo da década 2007-2017, que termina no 70º aniversário do festival. A investigação apresenta uma fundamentação teórica onde são justificados conceitos encontrados na literatura; seguidos de uma análise histórica que posiciona os festivais no seu contexto histórico e geográfico a nível social e político; e por fim é também apresentada através dos dados resultantes da investigação documental, a evolução participativa, económica e evolução de géneros artísticos performativos no Edinburgh Festival Fringe. Esta investigação propõe-se pensar nos festivais como fenómenos sociais: qual a sua utilidade? Qual a sua relevância? Qual o seu peso social? Qual o seu futuro?
The origins of Edinburgh Festival Fringe date back to 1947. Fringe started when eight artists showed up, unannounced, to perform at the inauguration of the Edinburgh International Festival, unsuccessfully one might add. However, they performed at the “fringe” of the “official” festival, and since then, the Fringe has been known as “defying the norm”. In 2017 the Fringe celebrated its 70th anniversary and this seemed to an appropriate occasion for the beginning of this investigation. This study was carried out through a qualitative methodology with the following research question: “Which evolutive tendencies between the different editions of the Edinburgh Festival Fringe, between 2007-2017 in the Scottish cultural sector context?”. Scotland is a country north of the United Kingdom which capital is the city of Edinburgh. With few more than five million habitants, Edinburgh is not the typical competitor to the bigger European capitals, despite that during August, the whole world meets in Edinburgh. What is presented in this investigation is a qualitative analysis supported by official and secondary documentation, which aims to understand the evolution patterns of the Edinburgh Festival Fringe between the decade 2007-2017. This culminates with its 70th celebrations in 2017. The investigation presents a theoretical framework, where concepts are supported by relevant literature, followed by an historical analysis which positions the Edinburgh Festivals in their historical, geographical, social and political contexts; lastly, the findings resulting from the documental evaluation are also shown through a presentation of the statistical data, where the participatory, economic, and arts genres evolution of the Fringe can also be found. This investigation suggests a reflection on the social phenomenon festivals through the questions: are they useful? Are they relevant? What is their social importance? And lastly what does the future hold for festivals?

This diploma thesis reveals the processes of shaping the image of Emil František Burian, the theater director, composer, journalist and playwright in three key headings. The first heading explains the principles of self-presentation and choice of characteristic means to build its external image in the changing personal attitudes and social development in the 30th - 50 years of 20th century. The second heading shows the coordinates of cultural policy communist regime and monitors the construction of public image representative of official socialist culture. Both headings are mainly based on a detailed analysis of Burian's theater activity, broadcasting activities and articles in professional and social printing. The third heading of qualification work pays attention to creating individual memory of a systematic effort to build a "cult of personality" of E. F. Burian. Interpretation biography and memories of actors, directors, journalists and politicians attempts to profile the professional and private life of this artist.

The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in response to the generational pressure created by the post war baby boom. Given that there was virtually no market for modern sculpture in Australia at the inauguration of these triennials in the 1960s, the extent of the impact of the pressures and expectations of a burgeoning young population upon tertiary education, specifically the art schools, art history departments and art teacher training and, the expanding desire for cultural fulfilment and rapid developments in the cultural institution sector, is delineated at these triennial events. The expansion of the education system and the consequent expanded employment opportunities this offered to young sculptors in the late 1960s and throughout the 1970s, posited the first real challenge and alternative economy to the existing heterogeneous market economy for artistic works. In order to reinscribe the Mildura Sculpture Triennials into recent Australian art history as an important contributor to the institutional development of Australian contemporary art practice, I have drawn upon the reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu's method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity - the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. However, this is beyond the scope of this thesis. Mildura's significance lies in the way that the triennial gatherings provide a view into the disparate components that would connect to and eventually create an autonomous field of artistic production, that of the visual arts profession. However, the evolution of each of the components, which were the bedrock of Mildura, was driven by its own needs and necessities and not by the needs of the larger field of which they would eventually become a part. Bourdieu's understanding of the ontologic complicitiy between dispositions and the development of an autonomous field offers a non-teleological approach to the significance of Mildura as a site to map these rapid changes and also Mildura's subsequent displacement from the historical record.